Woman Triumphant (La Maja Desnuda)

A magnificent debut it was. A dowager duchess, a great protectress of the arts, who never bought a picture or a statue but who entertained at her table painters and sculptors of renown, finding in this an inexpensive pleasure and a certain distinction as an illustrious lady, wished to make Renovales' acquaintance. He overcame the stand-offishness of his nature that kept him away from all social relations. Why should he not know high society? He could go wherever other men could. And he put on his first dress-coat, and after the banquets of the duchess, where his way of arguing with members of the Academy provoked peals of merry laughter, he visited other salons and for several weeks was the idol of society which, to be sure, was somewhat scandalized by his faux pas, but still pleased with the timidity that overcame him after his daring sallies. The younger set liked him because he handled a sword like a Saint George. Although a painter and son of a blacksmith, he was in every way a respectable person. The ladies flattered him with their most amiable smiles, hoping that the fashionable artist would honor them with a portrait gratis, as he had done with the duchess.

In this period of high-life, always in dress clothes from seven in the evening, without painting anything but women who wanted to appear pretty and discussed gravely with the artist which gown they should put on to serve as a model, Renovales met his wife Josephina.

The first time that he saw her among so many ladies of arrogant bearing and striking presence, he felt attracted towards her by force of contrast. The bashfulness, the modesty, the insignificance of the girl impressed him. She was small, her face offered no other beauty than that of youth, her body had the charm of delicacy. Like himself, the poor girl was there out of a sort of condescendence on the part of the others; she seemed to be there by sufferance and she shrank in it, as if afraid of attracting attention, Renovales always saw her in the same evening gown somewhat old, with that appearance of weariness which a garment constantly made over to follow the course of the fashions is wont to acquire. The gloves, the flowers, the ribbons had a sort of sadness in their freshness, as if they betrayed the sacrifices, the domestic exertions it had taken to procure them. She was on intimate terms with all the girls who made a triumphal entrance into the drawing-rooms, inspiring praise and envy with their new toilettes; her mother, a majestic lady, with a big nose and gold glasses, treated the ladies of the noblest families with familiarity; but in spite of this intimacy there was apparent around the mother and daughter the gap of somewhat disdainful affection, in which commiseration bore no small part. They were poor. The father had been a diplomat of some distinction who, at his death, left his wife no other source of income than the widow's pension. Two sons were abroad as attachés of an embassy, struggling with the scantiness of their salary and the demands of their position. The mother and daughter lived in Madrid, chained to the society in which they were born, fearing to abandon it, as if that would be equivalent to a degradation, remaining during the day in a fourth-floor apartment, furnished with the remnants of their past opulence, making unheard-of sacrifices in order to be able in the evening to rub elbows worthily with those who had been their equals.

Some relative of Doña Emilia, the mother, contributed to her support, not with money (never that!) but by loaning her the surplus of their luxury, that she and her daughter might maintain a pale appearance of comfort.

Some of them loaned them their carriage on certain days, so that they might drive through the Castellana and the Retiro, bowing to their friends as the carriages passed; others sent them their box at the Opera on evenings when the bill was not a brilliant one. Their pity made them remember them, too, when they sent out invitations to birthday dinners, afternoon teas, and the like. "We mustn't forget the Torrealtas, poor things." And the next day, the society reporters included in the list of those present at the function "the charming Señorita de Torrealta and her distinguished mother, the widow of the famous diplomat of imperishable memory," and Doña Emilia, forgetting her situation, fancying she was in the good old times, went to everything, in the same black gown, annoying with her "my dears" and her gossip the great ladies whose maids were richer and ate better than she and her daughter. If some old gentleman took refuge beside her, the diplomat's wife tried to overwhelm him with the majesty of her recollections. "When we were ambassadors in Stockholm." "When my friend Eugénie was empress...."

The daughter, endowed with her instinctive girlish timidity, seemed better to realize her position. She would remain seated among the older ladies, only rarely venturing to join the other girls who had been her boarding-school companions and who now treated her condescendingly, looking on her as they would upon a governess who had been raised to their station, out of remembrance for the past. Her mother was annoyed at her timidity. She ought to dance a lot, be lively and bold, like the other girls, crack jokes, even if they were doubtful, that the men might repeat them and give her the reputation of being a wit. It was incredible that with the bringing up she had had, she should be so insignificant. The idea! The daughter of a great man about whom people used to crowd as soon as he entered the first salons in Europe! A girl who had been educated at the school of the Sacred Heart in Paris, who spoke English, a little German, and spent the day reading when she did not have to clean a pair of gloves or make over a dress! Didn't she want to get married? Was she so well satisfied with that fourth-story apartment, that wretched cell so unworthy of their name?

Josephina smiled sadly. Get married! She never would get to that in the society they frequented. Everyone knew they were poor. The young men thronged the drawing-rooms in search of women with money. If by chance one of them did come up to her, attracted by her pale beauty, it was only to whisper to her shameful suggestions while they danced; to propose uncompromising engagements, friendly relations with a prudence modeled on the English, flirtations that had no result.

Renovales did not realize how his friendship with Josephina began. Perhaps it was the contrast between himself and the little woman who hardly came up to his shoulder and who seemed about fifteen when she was already past twenty. Her soft voice with its slight lisp came to his ears like a caress. He laughed when he thought of the possibility of embracing that graceful, slender form; it would break in pieces in his pugilist's hands, like a wax doll. Mariano sought her out in the drawing-rooms which she and her mother were accustomed to frequent, and spent all the time sitting at her side, feeling an impulse to confide in her as a brother, a desire of telling her all about herself, his past, his present work, his hopes, as if she were a room-mate. She listened to him, looking at him with her brown eyes that seemed to smile at him, nodding assent, often without having heard what he said, receiving like a caress the exuberance of that nature which seemed to overflow in waves of fire. He was different from all the men she had known.

When someone—nobody knows who—perhaps one of Josephina's friends, noticed this intimacy, to make sport of her, she spread the news. The painter and the Torrealta girl were engaged. That was when the interested parties discovered that they loved each other. It was something more than friendship that made Renovales pass through Josephina's street mornings, looking at the high windows in the hope of seeing her dainty silhouette through the panes. One night at the duchess' when they were left alone in the hallway, Renovales caught her hand and lifted it to his lips, but so timidly that they scarcely touched her glove. He was afraid after his rudeness, felt ashamed of his violence; he thought he was hurting the delicate, slender girl; but she let her hand stay in his, and at the same time bowed her head and began to cry.

"How good you are, Mariano!"

She felt the most intense gratitude, when she realized that she was loved for the first time; loved truly, by a man of some distinction, who fled from the women of fortune to seek a humble, neglected girl like her. All the treasures of affection which had been accumulating in the isolation of her humiliating life overflowed. How she could love the man who loved her, taking her out of that parasite's existence, lifting her by his strength and affection to the level of those who scorned her!

The noble widow of Torrealta gave a cry of indignation when she learned of the engagement of the painter and her daughter. "The blacksmith's son!" "The illustrious diplomat of imperishable memory!" But as if this protest of her pride opened her eyes, she thought of the years her daughter had spent going from one drawing-room to another, without anyone paying any attention to her. What dunces men were! She thought, too, that a celebrated painter was a personage; she remembered the articles devoted to Renovales because of his last picture, and, above all, a thing that had the most effect on her, she knew by hearsay of the great fortune that artists amassed abroad, the hundreds of thousands of francs paid for a canvas that could be carried under your arm. Why might not Renovales be one of the fortunate?

She began to annoy her countless relatives with requests for advice. The girl had no father and they must take his place. Some answered indifferently. "The painter! Hump! Not bad!" evidencing by their coldness that it was all the same to them if she married a tax-collector. Others insulted her unwittingly by showing their approval. "Renovales? An artist with a great future before him. What more do you want? You ought to be thankful he has taken a fancy to her." But the advice that decided her was that of her famous cousin, the Marquis of Tarfe, a man to whom she looked upon as the most distinguished citizen in the country, without doubt because of his office as permanent head of the Foreign Service, for every two years he was made Minister of Foreign Affairs.

"It looks very good to me," said the nobleman, hastily, for they were waiting for him in the Senate. "It is a modern marriage and we must keep up with the times. I am a conservative, but liberal, very liberal and very modern. I will protect the children. I like the marriage. Art joining its prestige with a historic family! The popular blood that rises through its merits and is mingled with that of the ancient nobility!"

And the Marquis of Tarfe, whose marquisate did not go back half a century, with these rhetorical figures of an orator in the Senate and his promises of protection, convinced the haughty widow. She was the one who spoke to Renovales, to relieve him of an explanation that would be trying because of the timidity he felt in this society that was not his own.

"I know all about it, Mariano, my dear, and you have my consent."

But she did not like long engagements. When did he intend to get married? Renovales was more eager for it than the mother. Josephina was different from other women who hardly aroused his desire. His chastity, which had been like that of a rough laborer, developed into a feverish desire to make that charming doll his own as soon as possible. Besides, his pride was flattered by this union. His fiancée was poor; her only dowry was a few ragged clothes, but she belonged to a noble family, ministers, generals—all of noble descent. They could weigh by the ton the coronets and coats-of-arms of those countless relatives who did not pay much attention to Josephina and her mother, but who would soon be his family. What would Señor Antón think, hammering iron in the suburbs of his town? What would his comrades in Rome say, whose lot consisted in living with the ciociari who served as their models, and marrying them afterward out of fear for the stiletto of the venerable Calabrian who insisted on providing a legitimate father for his grandsons!

The papers had much to say about the wedding, repeating with slight variations the very phrases of the Marquis of Tarfe, "Art uniting with nobility." Renovales wanted to leave for Rome with Josephina as soon as the marriage was celebrated. He had made all the arrangements for his new life there, investing in it all the money he had received from the State for his picture and the product of several pictures for the Senate for which he received commissions through his illustrious relative-to-be.

A friend in Rome (the jolly Cotoner) had hired for him an apartment in the Via Margutta and had furnished it in accordance with his artistic taste. Doña Emilia would remain in Madrid with one of her sons, who had been promoted to a position in the Foreign Office. Everybody, even the mother, was in the young couple's way. And Doña Emilia wiped away an invisible tear with the tip of her glove. Besides, she did not care to go back to the countries where she had been somebody; she preferred to stay in Madrid; there people knew her at least.

The wedding was an event. Not a soul in the huge family was absent; all feared the annoying questions of the illustrious widow who kept a list of relatives to the sixth remove.

Señor Antón arrived two days before, in a new suit with knee-breeches and a broad plush hat, looking somewhat confused at the smiles of those people who regarded him as a quaint type. Crestfallen and trembling in the presence of the two women, with a countryman's respect, he called his daughter-in-law "Señorita."

"No, papa, call me 'daughter.' Say Josephina to me."

But in spite of Josephina's simplicity and the tender gratitude he felt when he saw her look at his son with such loving eyes, he did not venture to take the liberty of speaking to her as his child and made the greatest efforts to avoid this danger, always speaking to her in the third person.

Doña Emilia, with her gold glasses and her majestic bearing, caused him even greater emotion. He always called her "Señora marquesa," for in his simplicity he could not admit that that lady was not at least a marchioness. The widow, somewhat disarmed by the good man's homage, admitted that he was a "rube" of some natural talent, a fact that made her tolerate the ridiculous note of his knee breeches.

In the chapel of the Marquis of Tarfe's palace, after looking dumbfounded at the great throng of nobility that had gathered for his son's wedding, the old man, standing in the doorway, began to cry:

"Now I can die, O Lord. Now I can die!"

And he repeated his sad desire, without noticing the laughter of the servants, as if, after a life of toil, happiness were the inevitable forerunner of death.

The bride and groom started on their trip the same day. Señor Antón for the first time kissed his daughter-in-law on the forehead, moistening it with his tears, and went home to his village, still repeating his longing for death, as though nothing were left in the world for him to hope for.

Renovales and his wife reached Rome after several stops on the way. Their short stay in various cities of the Riviera, the days in Pisa and Florence, though delightful, as keeping the memory of their first intimacy, seemed unspeakably vulgar, when they were installed in their little house in Rome. There the real honeymoon began, by their own fireside, free from all intrusion, far from the confusion of hotels.

Josephina, accustomed to a life of secret privation, to the misery of that fourth-floor apartment in which she and her mother lived as though they were camping out, keeping all their show for the street, admired the coquettish charm, the smart daintiness of the house in the Via Margutta. Mariano's friend, who had charge of the furnishing of the house, a certain Pepe Cotoner, who hardly ever touched his brushes and who devoted all his artistic enthusiasm to his worship of Renovales, had certainly done things well.

Josephina clapped her hands in childish joy when she saw the bedroom, admiring its sumptuous Venetian furniture, with its wonderful inlaid pearl and ebony, a princely luxury that the painter would have to pay for in instalments.

Oh! The first night of their stay in Rome! How well Renovales remembered it! Josephina, lying on the monumental bed, made for the wife of a Doge, shook with the delight of rest, stretching her limbs before she hid them under the fine sheets, showing herself with the abandon of a woman who no longer has any secrets to keep. The pink toes of her plump little feet moved as if they were calling Renovales.

Standing beside the bed, he looked at her seriously, with his brows contracted, dominated by a desire that he hesitated to express. He wanted to see her, to admire her; he did not know her yet, after those nights in the hotels when they could hear strange voices on the other side of the thin walls.

It was not the caprice of a lover, it was the desire of a painter, the demand of an artist. His eyes were hungry for beauty.

She resisted, blushing, a trifle angry at this demand which offended her deepest prejudices.

"Don't be foolish, Mariano, dear. Come to bed; don't talk nonsense."

But he persisted obstinately in his desire. She must overcome her bourgeois scruples, art scoffed at such modesty, human beauty was meant to be shown in all its radiant majesty and not to be kept hidden, despised and cursed.

He did not want to paint her; he did not dare to ask for that; but he did want to see her, to see her and admire her, not with a coarse desire, but with religious adoration.

And his hands, restrained by the fears of hurting her, gently pulled her weak arms that were crossed on her breast in the endeavor to resist his advances. She laughed: "You silly thing. You're tickling me—you're hurting me." But little by little, conquered by his persistency, her feminine pride flattered by this worship of her body, she gave in to him, allowed herself to be treated like a child, with soft remonstrances as if she were undergoing torture, but without resisting any longer.

Her body, free from veils, shone with the whiteness of pearl. Josephina closed her eyes as if she wanted to flee from the shame of her nakedness. On the smooth sheet, her graceful form was outlined in a slightly rosy tone, intoxicating the eyes of the artist.

Josephina's face was not much to look at, but her body! If he could only overcome her scruples some time and paint her!

Renovales kneeled down beside the bed in a transport of admiration.

"I worship you, Josephina. You are as fair as Venus. No, not Venus. She is cold and calm, like a goddess, and you are a woman. You are like—what are you like? Yes, now I see the likeness. You are Goya's little Maja, with her delicate grace, her fascinating daintiness. You are the Maja Desnuda!"

III

Renovales' life was changed. In love with his wife, fearing that she might lack some comfort, and thinking with anxiety of the Torrealta widow, who might complain that the daughter of the "illustrious diplomat of imperishable memory" was not happy because she had lowered herself to the extent of marrying a painter, he worked incessantly to maintain with his brush the comforts with which he had surrounded Josephina.

He, who had had so much scorn for industrial art, painting for money, as did his comrades, followed their example, but with the energy that he showed in all his undertakings. In some of the studios there were cries of protest against this tireless competitor who lowered prices scandalously. He had sold his brush for a year to one of those Jewish dealers who exported paintings at so much a picture, and under agreement not to paint for any other dealer. Renovales worked from morning till night changing subjects when it was demanded by what he called his impresario. "Enough ciociari, now for some Moors." Afterwards the Moors lost their market-value and the turn of the musketeers came, fencing a valiant duel; then pink shepherdesses in the style of Watteau or ladies in powdered wigs embarking in a golden gondola to the sound of lutes. To give freshness to his stock, he would interpolate a sacristy scene with much show of embroidered chasubles and golden incensaries, or an occasional bacchanalian, imitating from memory, without models, Titians' voluptuous forms and amber flesh. When the list was ended, the ciociari were once more in style and could be begun again. The painter with his extraordinary facility of execution produced two or three pictures a week, and the impresario, to encourage him in his work, often visited him afternoons, following the movements of his brush with the enthusiasm of a man who appreciated art at so much a foot and so much an hour. The news he brought was of a sort to infuse new zest.

The last bacchanal painted by Renovales was in a fashionable bar in New York. His pageant of the Abruzzi was in one of the noblest castles in Russia. Another picture, representing a dance of countesses disguised as shepherdesses in a field of violets, was in the possession of a Jewish baron, a banker in Frankfort. The dealer rubbed his hands, as he spoke to the painter with a patronizing air. His name was becoming famous, thanks to him, and he would not step until he had won him a world-wide reputation. Already his agents were asking him to send nothing but the works of Signor Renovales, for they were the best sellers. But Mariano answered him with a sudden outburst of bitterness. All those canvases were mere rot. If that was art, he would prefer to break stone on the high roads.

But his rebellion against this debasement of his art disappeared when he saw his Josephina in the house whose ornamentation he was constantly improving, converting it into a jewel case worthy of his love. She was happy in her home, with a splendid carriage in which to drive every afternoon and perfect freedom to spend money on her clothes and jewelry. Renovales' wife lacked nothing; she had-at her disposal, as adviser and errand-boy, Cotoner, who spent the night in a garret that served him as a studio in one of the cheap districts and the rest of the day with the young couple. She was mistress of the money; she had never seen so many banknotes at once. When Renovales handed her the pile of lires which the impresario gave him she said with a little laugh of joy, "Money, money!" and ran and hid it away with the serious expression of a diligent, economical housewife—only to take it out the next day and squander it with a childish carelessness. What a wonderful thing painting was! Her illustrious father (in spite of all that her mother said) had never made so much money in all his travels through the world, going from cotillon to cotillon as the representative of his king.

While Renovales was in the studio, she had been to drive in the Pincio, bowing from her landau to the countless wives of ambassadors who were stationed at Rome, to aristocratic travelers stopping in the city, to whom she had been introduced in some drawing-room, and to all the crowd of diplomatic attachés who live about the double court of the Vatican and the Quirinal.

The painter was introduced by his wife into an official society of the most rigid formality. The niece of the Marquis of Tarfe, perpetual foreign minister, was received with open arms by the high society of Rome, the most exclusive in Europe. At every reception at the two Spanish embassies, "the famous painter Renovales and his charming wife" were present and these invitations had spread to the embassies of other countries. Almost every night there was some function. Since there were two diplomatic centers, one at the court of the Italian king, the other at the Vatican, the receptions and evening parties were frequent in this isolated society that gathered every night, sufficient for its own enjoyment.